THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.

Posts Tagged ‘Holland-Dozier-Holland’

LaBrenda Ben was an early Motown signing, releasing ‘Camel Walk’ b/w ‘The Chaperone’ in December ’62. By the end of ’63 though, with just two Gordy singles on the market, she and her group were dropped, thereby also becoming an early roster casualty. Too bad. Sure sounds like she could sing to me, even have succeeded with some Holland-Dozier-Holland or Smokey Robinson songs.

Years later, this B side gained some traction in Northern Soul clubs. The label eventually repressed ‘The Chaperone’ as an A side, this time on Motown (M 1033) as opposed to the original Gordy (G 7009). In keeping with Northern Soul’s formula of non hit Motown sounding knock-offs though, ‘The Chaperone’ more than fits the bill. Just shy of a real chorus, the metallic thumps and all the right jingle jangles were almost enough to cover for lack of one. Records like this came off the label’s conveyer belt as often as cars did down the street. All in all, ‘The Chaperone’ might have worked if only it had gotten some airplay as opposed to being relegated to the flip.

Looks as though that opinion wasn’t mine alone, given they were nowhere in sight on the label copy for their followup and swan song.

No idea who was making the decisions around Motown then, but legend has it Berry Gordy was a major control freak, and he clearly knew a hit. So how did ‘I Can’t Help It, I Gotta Dance’ end up as a B side? I thought lightning never struck twice.

Not only, as with ‘The Chaperone’, was ‘I Can’t Help It, I Gotta Dance’ the noticeably stronger track, the song was about The Contours. And they were on the label for God’s sake.

One day, around ’90, I decided to own every last James Brown single from the 60′s and 70′s. It was a most fun challenge, and surprisingly easy. Don’t forget, we were still in the heyday of folks dumping their vinyl for cd. Despite all the unsolvable problems that began with the onset of the cd configuration, it was absolutely a miracle for the vinyl collector. What could be better than the entire world wanting to unload their records?

James Brown’s temporary switch from the King label to Smash lasted a only year or two. Seems he signed one contract before the previous one expired, ultimately settling it all by agreeing to record only instrumentals for Smash. Some fans seem to downplay their interest in the period – not me. Besides, I’m a sucker for any releases from the Mercury Records Group: Philips, Fontana, Blue Rock, Limelight and of course Smash.

The best part of all this being the public tired of his assembly line, contract fulfilling output, so sales declined faithfully with each release. These last few before returning to King became the hardest to find. Good fun in my book.

‘James Brown’s Boo-Ga-Loo’ came and went completely unnoticed. Although the label copy suggested it’s from his NEW BREED album, it’s not. Well, sorta not. The track is actually an edited version of ‘New Breed’ retitled and easily doubles as incidental music for a B movie. No problem.

Equally enamored with muzak renditions of familiar hits meant many of his singles for the label were prime wants like ‘Let’s Go Get Stoned’ plus his own covers of ‘Papa’s Got A Brand New Bag’ and ‘Try Me’ for instance.

The last Smash 7″, and non-LP as well, is a lazy, slightly mundane (and therefore perfect for my tastes) version of Holland-Dozier-Holland’s ‘Jimmy Mack’. As with many of the jazz organists from that period, I bet they all rattled out these one after the other in a day long session, thereby making both recording costs and sales pressure low. Everyone needed a few for party music I guess. Another hard one to find, yet most likely competition is pretty minimal.

Correct. It’s the Holland-Dozier-Holland hit from ’64 by Marvin Gaye, covered by many a Mod band (The Who, The Poets, The Small Faces) in that heyday, and come late ’68, by Alvin Robinson as well.

Not nearly enough Alvin Robinson circulates on 45, which is both surprising and a shame. His guttural blues vocal style was instantly signature, and copied by some of the best. Plus his guitar playing, then in much studio demand, had a similar swagger. So logically, during sessions with Dr. John, did Atco decide to give him a studio whirl, resulting in this, his only single for the label. Given the purity of his sound, and his legendary New Orleans cred, it’s rather shocking that Ahmet Ertegan and Jerry Wexler didn’t release more sides.

The nice thing about this one is it’s subtlety. You don’t realized how strong a grip it has until you find yourself playing it repeatedly. Well I did at least.